Quakertown Community

High School

Panther Marching Band

Music and Visual

Handbook
2015

PRIDE PASSION
EXCELLENCE
Dear Panther Marching Band Members,

The following handbook provides a comprehensive guideline of the music,
marching, and visual aspects of our band. The purpose of this handbook is to
provide each member with a valuable resource that serves as a one stop
shop for our music and visual programs. Since every member is an integral
part of this marching organization, it is imperative that everyone attends to the
specific details of music and marching in order to achieve a quality program.
This guide is intended as an outline or reference; much more detail and
examples will be a part of everyday rehearsals.

The marching proficiency exam provides criteria for which all members are
individually responsible to achieve. A student leader who has been properly
trained and has successfully completed the proficiency with the highest marks
will administer the proficiency. With the ultimate goal of uniformity and proper
marching technique, this will serve as a means to that end.

WORK HARD! STRIVE FOR EXCELLENCE! GREAT THINGS HAPPEN!

- Mr. Parker
- Mr. Santanello
REHEARSAL PROCEDURE

We deal with a very large classroom in a potentially distracting atmosphere. In order to have
the most productive rehearsals possible, a structured procedure has been established.

1. Due to the large arena in which we work, it is essential that the majority of talking be limited
to directors, drum majors, and student leaders. Corrections and instructions will come
from the scaffolding or drum major s podium first and then from student leaders.
When instructors or directors are talking to another section, give them your full attention as if they
were talking to you. Chances are that information will be useful to your own performance
responsibilities. Questions are expected and encouraged under proper circumstances. Simply raise
your hand.

2. Unless otherwise directed, you should end movement on the last count of the move. This ensures
a realistic completion of the phrase and a proper check of the change of direction technique. You
will hold that position until the person running the rehearsal says, form check or set the form.
Form check means to look at the form around you and adjust to the form while remaining in
the check position (the final step of the previous move). Set means to build the set by stepping
off your dot coordinates. Once the set is checked or set up, you will stand in the receiving
position awaiting further instructions.

3. You will start each move with your feet set in the last count of the previous move (unless its a
hold). This is referred to as minus one.

4. You are expected to move expediently back to each set.

Have all needed materials at every rehearsal
Instrument
Drill Binder includes all music, drill charts, and dot charts for easy reference
Sneakers along with clothing conducive to marching
Pencil
Sun-block, water cooler, cell phone turned off, hat or bandana, sunglasses
Sunglasses wear sunglasses to protect your eyes but you must compensate for the change of
perspective they might create.
HOW TO READ A DRILL CHART AND FIGURE
YOUR COORDINATE

When figuring out and writing your coordinates, you should determine your position to the nearest
1/4 step. This allows for the smallest margin of error calculable when stepping off your set with
your feet.

Steps are determined based on an 8 to 5 step size. This means 8 steps to every five yards or 8
steps from yard line to yard line. To be exact, an 8 to 5 step is 22.5 inches. Possible references to
determine fractions of a step include: a 1/2 step by placing heel to toe and a 1/4 step by placing
instep to the toe, with variance depending on the length of your foot.

Some fields on which bands perform often contain TWO sets of hash marks as noted on your drill
sheets and by our practice field. The hash marks closest to the center of the field are found on
college football fields and the hash marks further away from the center of the field are found on
high school fields.

1. Your drill charts should be positioned so that the BSL is closest to your body, and the FSL is
away from your body (backwards). This allows you to read and see the drill charts as you read
and see the field.

2. Find your section and your dot on the field.

3. Determine the number of steps on the vertical plane from the nearest reference -point (i.e. 8
steps FFH for 8 steps in front of the front hash).

4. Determine the number of steps on the horizontal plane from the nearest reference -point (i.e. 3
1/2 OUT 35, SIDE 1).

5. From your vertical reference-point, step off your vertical distance (i.e. 8 steps FFH), and then step off the
horizontal distance (i.e. 3 1/2 OUT 35, S1). This is your dot.

Abbreviations for Vertical Distance:
*FSL Front Sideline
*BSL Back Sideline
*FH Front Hash
*BH Back Hash

*B Behind
*F Front

Abbreviations for Horizontal Distance:

*IN Inside Yard-line (towards the 50)
*OUT Outside Yard-line (away from 50)
*S1 - Side 1(also SIDE R or SIDE A) The space right of the 50 from the performers perspective
*S2 - Side 2(also SIDE L or SIDE B) The space left of the 50, from the performers perspective

** This is not the only method of notating coordinates, but is a quick and easy method that is
possibly the fastest way to write and read them.
HOW TO MARK YOUR DOT CHARTS (DRILL
SETS, ETC.)

In order to get the most out of the little rehearsal time that we have, all members of the band are
expected to keep track of their exact coordinates in the drill at all times. The most effective way of
monitoring ones spot on the field is by marking the coordinates of each set (see above) into a
single document known to us as a DOT CHART. Marking sets into a dot chart provides all
members with a one-stop reference without disrupting the flow of rehearsal. Dot charts will also
be checked off by section leaders failure to maintain an accurate dot chart will result in the
loss of third quarter privileges at football games.

Procedure for Marking Dot Charts:
When filling in a dot chart, the first thing one must look at is the drill chart. Each drill chart will
contain the following:

1. The drill set number each set is ordered in chronological order
2. The number of counts for the drill set
3. The measure numbers during which the drill set is taking place
4. Each members individual coordinates (dot)

Each entry on the dot chart should include the members coordinates as per the drill sheet as well
as the appropriate set number for easy reference. These coordinates should be marked in a way
that the member can understand. For more detail on how to write coordinates, see, How to Figure Your
Coordinates, on the previous page.

All show music should also be marked with all drill sets. This process is a quick and
easy way to get everyone in the band to know where they are supposed to be going as well as
what they are supposed to be playing at all times. NO EXCUSES, NO OBSTACLES!
THE MARCHING TECHNIQUE PROGRAM

Posture
Body breakdown: alignment in a straight line
Uniform horn/arm/head position
Military presence

Correct posture consists of standing tall in a straight body alignment, uniform positions of the
head, arms, and instrument, a military presence that projects showmanship. The following exercise
is used to foster achievement in this area:

Body Breakdown ( The Hindu ) - This can be defined as an exercise to help achieve
consistency in posture. The purpose of this exercise is to achieve the ideal body alignment in a
straight line. The exercise begins with the feet shoulder width apart and the rest of the body in a
relaxed, yet attention-like position. Movements then are executed over periods of four counts. The
succession is actually the exercise in reverse. Once stance is de-aligned to the ending position,
posture alignment is then built in reverse. This is followed by an expansion of the bodys space
both upwards and outwards.

4 counts- head and chin down- Neck relaxes and chin should be hitting the chest.
4 counts- shoulders come in- Pull your shoulders forward (shoulders should feel like you
have your arms stretched straight out in front of you, and then dropped down in front of
chest).
4 counts- upper back- The bottom of your sternum up should be relaxed over the rest of
your body (slightly bent over).
4 counts- lower back- A totally bent over position with the legs still straight.
4 counts- bend the knees- Knees bent over your toes, everything is totally relaxed.
4 counts right to left
4 counts onto platforms
8 counts windmill arms up
8 counts windmill arms down.
Out of time down off the toes.

What to watch for:

Hyperextended back (No C in the back!)

Shoulders slouched or shrugged in a tense position they should be down, back,

and relaxed

Hips not rolled under the back (Tuck in your backside!)

Ostrich head get the ears in the alignment

Stationary Commands

The following are our most commonly used commands:

With no steady tempo:

The Ready Band to the Ready
Receiving Receiving

In Tempo, called in three counts as quarter notes with the inflection of med, low, high, followed by
a dead count on four with execution on the next count:

Attention Band ten hut
Mark Time Mark time mark
Forward March For ward move
Backward March Back ward move
Halt Baaand halt

Mark Time
Timing
Consistent height of heels
Control of hips and upper body
Uniform leg motion

The low mark time is defined with a two-inch lift of the heel while the front part of the foot
remains on the ground. The performer should maintain consistent timing, correct height of the
heels, uniform leg motion, and control of the upper body during execution of this technique.

What to watch for: Check heel height by:

Spaghetti Legs/StairMaster - created by: On the and count, the back

of the front knee should clear the
too much hip movement back knee
the heels passing each other
without one heel always being on Front of the foot has all 3 points
the ground of the platform touching the ground
weight is leaning too far forward on the andcount
on the foot
Forward March
Ski Line Path
Straight Leg
Toe roll - Roll Step
Phasing/timing
Initiation/resolution
Upper Body

The forward march is a gliding roll step. Legs are kept very straight, forcing the foot to stay as low to the
ground as possible. The lead toe should be raised into the air to exaggerate the movement of the foot as it
rolls from the heel to the toe during each step. Left and right marching steps should stay in paths that are
best explained by the comparison to the paths that are made by cross-country skiers. The marching
movement of the feet should reflect good timing, with heels hitting the ground on the down beats and
ankles passing on the and counts. The posture of the upper body (10 degrees forward) should stay
controlled while marching forward. If preceded by a mark time, the legs are locked straight during the two
counts before the step-off count.

What to watch for: Common errors:

Straight legs (Scissor Club) Leaning forward prior to movement

Toe roll (Tube of Toothpaste) Excessive knee bend causing feet to
Ankles pass on and counts come too far off of the ground
(Take a picture on and - Step 1 of the move is smaller than
looks like a standstill) the rest
Maintain good posture/horn angle Feet moving out of the ski-line
All steps same size in same phrase
Control upper body (Floating on a
pane of glass)
Feet in ski path
Move weight of body on count one,
not just foot (Rope wrapped around
your waist pulling you forward)
Backward March
Ski line Path
Straight Leg
Platform
Phasing/timing
Initiation/Resolution
Upper body

The backward march is executed on the platform of the foot. The platform is created by the triangle
formation made up of the big toe, and the ball of the little toe. At no time should the heel touch the
ground for any reason, except for a halt. Left and right marching steps should stay in paths that are best
explained by comparison to the paths that are made by cross-country skiers. The marching movement of
the feet should reflect good timing, with the platform hitting the ground on the down beats and the ankles
passing on the and counts. The posture of the upper body should stay controlled while marching
backward

What to watch for: Common errors:

Stay up on the platform (not the toes -staying Leaning backward prior to movement (or
on the toes creates too much bounce and not during movement)
enough glide) Excessive knee bend causing feet to come
too far off of the ground
Ankles pass on the and count Step 1 of the move is smaller than the rest
(Take a picture) Feet moving out of the ski-line
Maintain good posture/horn angle
All steps same size in same phrase
Control upper body (Float across a pane
of glass)
Feet in ski path
Move weight of body on count one,
not just foot (Rope around the
waist...)
Slides
Hip and shoulder positions during slides 0-45-90

A slide allows the performer to move laterally at any angle on the field while keeping the instrument flat
towards the sideline. This is achieved by twisting in the middle of the body so that the hips face halfway
(45 degrees) between the direction of the feet (0 degrees) and the direction of the shoulders (90 degrees).

What to watch for: Common errors:

Must TURN FROM THE HIPS, NOT THE Hips remain square, not at a 45 degree
SHOULDERS! angle
Maintain proper movement Drifting from a straight path because lower
technique and good posture body pulls you in the direction
Crunching of the space created by the
shoulder, arms, and instrument.

Direction Changes
Foot placement
Weight exchange
Consistent step-size
Upper Body
Stab

The following movement block is used to foster achievement in this area. Control of posture along with
control of the weight of the body at the moment of direction change is very important. All halts are
performed with a stab placement by the plant foot. This is demonstrated by touching the platform of
the right foot first, followed by the heel.

What to watch for: Common errors:

Consistent step-size comparing forward to Straying from ski path

backward Change of step-size on first or lastcount
Complete each phrase before moving to next BM 8 to 5 is smaller than FM 8 to 5.
phrase LOCK, TURN!) Leaning toward next direction
Hit 90 degree angles
Know your foot positions!!!

 The Pyramid of Musical Elements
When learning a piece of music, a logical order of musical elements exists. While musicians should attempt
to ascend the pyramid as quickly as possible (and ultimately perform all elements simultaneously), the
following chart can be of assistance when developing rehearsal plans and planning practice sessions.

Speed

Style

Articulation/Dynamics

Rhythms

Notes
Notes - No passage can be learned correctly without knowledge of the NOTES. This is especially crucial
with brass players - pitches need to be slotted in the lip (particularly in passages with leaps, etc.)
before being combined with any other element. Once the notes are consistent, focus can move to the next
level in the pyramid.

Rhythm - Correct notes must be placed in the correct order for the correct duration (hence - RHYTHM!).
Rhythms should be approached with multiple techniques, including: counting, clapping, neutral syllables,
sizzling, or playing on a single note.

IMPORTANT: If the notes are a problem, get rid of the rhythm (play out of time). If the rhythm is the
problem, get rid of the notes (play on a single pitch or on the mouthpiece).

Articulation/Dynamics = Style - These go hand in hand. Passages should be played with varied
articulation/dynamics to gain and over-standing of the material.

SPEED IS THE LEAST IMPORTANT ELEMENT! ONLY PLAY AS FAST AS YOU CAN PERFORM A SEGMENT
PERFECTLY! ALL OTHER ELEMENTS MUST BE MASTERED BEFORE ATTEMPTING PERFORMANCE TEMPO!
 The Three Rs of Music Rehearsal
We approach the rehearsal of music as a three step process:

READ, ROUGH-IN, REFINE

Music is first presented. Focus remains on ensemble sound,

READ notes, and rhythms. Stylistic elements are introduced, as are
any musical elements that will require individual attention.

Music has been read and now requires closer attention. Notes
and rhythms are scrutinized for complete accuracy. Style
ROUGH-IN (articulation) and dynamics are further reviewed, and a more
compete concept of the piece is formed
All elements of music are completely scrutinized. Articulations
REFINE are intensified and dynamic ranges are extended to the extent
that musicality will allow.

CHUNKING
With any piece of music, breaking the entire work down into manageable chunks is extremely
important to the rehearsal process. Each chunk has its own unique musical characteristics and will
thereby require a different rehearsal plan.

When dividing a piece into chunks, we logically divide the work into segments. One of the most efficient
ways to chunk a piece is to look for points of contrast within the work.

Contrast points include:

Changes in melodic material

Changes in signatures (key and time)
Changes in texture (instruments playing)
Changes in style
Throughout our summer sessions, there will be times when student leaders will be asked to run music
sectionals. You sectionals should result in a presentable chunk of music, complete with accurate and
effective dynamics and articulations (in addition to notes and rhythms, of course).
 Panther Marching Band
Individual Practice and Sectional Rehearsal Guide
Section: Date:

Type of Rehearsal (read, Rough-in, Refine):

Chunk (Name of song and Measure #s):

Objectives Plan of Attack

(WHAT are the SPECIFIC goals for this session?) (HOW are you going to reach your goal?)

Section Assessment For Next Time

(Did you achieve your objectives? What do (Based on your progress today, what is the next
you still need to work on in this chunk?) logical step for improvement?)